This work makes a profound and unprecedented study of 6 ancient kata that are practically in disuse, some of these katas were created directly by Jigoro Kano and others by first generation students or by the direction of the Kodokan. They are therefore part of the more traditional judo and deserve to occupy a place in the regular practice of judo and jujutsu. These 6 katas have a unique beauty, worthy of being preserved and spread so that they can reach new generations of Instructors and teachers, and thus return to Judo all that has been lost along the way and honorably honor the memory of the master Jigoro Kano. For orders in North America in kiaibudoshop
Throughout the long history of Japan's martial traditions, judo has evolved into one of the nation's richest and most revered cultural legacies. The vast array of judo techniques has branched out into three distinct categories: throwing techniques, grappling techniques, and striking techniques. Of these, throwing techniques (nage-waza) represent some of the most dynamic and compelling aspects of this world-famous martial art. Recent developments in competition (shiai) and free practice (randori) have seen an increase in the number of forms of nage-waza, leading to often confusing interpretations of the techniques' names. The purpose of this book, therefore, is to provide a comprehensive and correct classification of nage-waza terminology as used in both competition and practice. All the sixty-seven official Kodokan throwing techniques and their various forms are explained thoroughly and concisely, and over 1,800 photographs accompany the text to provide the reader with the most comprehensive guide to judo's throwing forms to date. For many years author Toshiro Daigo has held the prestigious position of chief instructor at the Kodokan, regarded as the mecca for all judo enthusiasts, and this book is the result of painstaking research into the constantly changing forms of judo's nage-waza. It will be an invaluable resource for practitioners everywhere.
This book describes the history and importance of Ju No Kata—the science of what it takes to execute throws—to the study and practice of judo. It also serves as a semi autobiography of the author, Keiko Fukuda, who is the world's foremost authority on Ju No Kata. At the age of 90, she still practices her passion. Understanding Ju No Kata is essential for passing higher-rank tests and this book, imbued with Fukuda's wisdom, is comprehensive and definitive.
The practice of judo katas has changed over time as a result of perceived purpose. The chapters in this anthology were written by seven authorities in judo history and practice. Their writings clarify the purpose of kata and thus its mode of practice and their place in competition. In 1926, a contest occurred in which thirty-seven of the finest judoka in Japan competed before the Emperor Hirohito. The first chapter by Robert W. Smith details the techniques utilized by each master and also compares their skills with today's judo practitioners. The next two chapters by Dr. Llyr Jones and Biron Ebell deal with the transmutation of judo over the decades. Both authors give ample support that the original guidelines have evolved into competitive sport resulting in a substantial decline in the number of adults practicing judo. Where does kata stand in judo practice today? Dr. Lance Gatling reports on The First Kodokan Judo International Competition (2007). He outlines the background of the competition, the competitors, the motivations for this competition, the historical development of judo katas, and their importance to the correct study of judo. Dr. Llyr Jones' next chapter has two objectives: to explain the purpose of kata in judo, and to critically evaluate the concept of kata championships. To achieve these objectives, Jones offers personal comments, observations from rare Japanese source material, as well as insight into the thinking of world-renowned judo experts. Linda Yiannakis provides two insightful chapters. Her first chapter presents a conceptual framework for examining principles of judo throwing techniques. The principles are classified as primarily structural, operational, or contextual in nature. In her second chapter, she points out that martial artists are acutely aware of the need to develop a sense of timing for the best possible moment to apply techniques in free play or contest. This chapter examines some critical features of patterns and rhythms in a variety of contexts and provides a few basic exercises for the development of awareness and use of rhythm, patterns, and timing in judo. Jones, Savage, and Gatling present an in-depth study into Kodokan Goshin-jutsu-a Kodokan judo exercise formally established in 1956 to teach the principles and techniques of self-defense against unarmed and armed attacks, and to meet modern lifestyle needs. Their chapter reviews the place of Goshin-jutsu among the Kodokan katas, and then summarizes the history its creation. A description of the exercise's structure and technical contents follows, along with an in-depth explanation of its principles and associated teaching and learning challenges. This also includes a review of the most reliable learning texts in Japanese, English and selected other Western languages. Kodokan Goshin-jutsu's performance aspects are considered next. An objective assessment of its practical self-defense effectiveness follows, before finally conclusions are drawn. The short final chapter by Dr. Jones is on Kodokan judo's Nage-no-kata (forms of throwing) and Katame-no-kata (forms of control). Their study helps facilitate the development of free practice (randori) skills. Many look at judo studies as including three dimensions: free-practice, competition, and forms. Kata practice is vital to the other two. If you are involved with judo, this anthology will deepen your purpose and inspiring your practice.
Within the sphere of Traditional Kodokan Judo, various self-defense methods and katas were created and practiced by Kodokan Judo students at different times. One of these methods was the Torite No Kata, created in 1924 by a group of Kodokan Judo experts belonging to the metropolitan police force. This study was led by the teacher Yamashita Yoshitsugu (first 10th Dan of Kodokan Judo) with the approval of the teacher Jigoro Kano. Torite No Kata shows great technical refinement and preserves the shinken shobu principles of Traditional Kodokan Judo and ancient Jujutsu. By studying the Torite No Kata carefully we will learn how to perform the atemi correctly, how to defend ourselves against different knife attacks, how to locate vital points, how to perform joint lock techniques on the fingers, wrist, knee, ankle and elbow, and how to learn some forms of renkoho or police driving. It is therefore an extremely useful and effective kata from the perspective of self-defense. Unfortunately, this method has fallen into disuse. Our goal is to teach and spread this kata so that students and teachers from all disciplines can benefit from this formidable method.
Within the sphere of Traditional Kodokan Judo, various self-defense methods and katas were created and practiced by Kodokan Judo students at different times. One of these methods was the Torite No Kata, created in 1924 by a group of Kodokan Judo experts belonging to the metropolitan police force. This study was led by the teacher Yamashita Yoshitsugu (first 10th Dan of Kodokan Judo) with the approval of the teacher Jigoro Kano. Torite No Kata shows great technical refinement and preserves the shinken shobu principles of Traditional Kodokan Judo and ancient Jujutsu. By studying the Torite No Kata carefully we will learn how to perform the atemi correctly, how to defend ourselves against different knife attacks, how to locate vital points, how to perform joint lock techniques on the fingers, wrist, knee, ankle and elbow, and how to learn some forms of renkoho or police driving. It is therefore an extremely useful and effective kata from the perspective of self-defense. Unfortunately, this method has fallen into disuse. Our goal is to teach and spread this kata so that students and teachers from all disciplines can benefit from this formidable method.
In 1882, Kano opened his Kodokan dojo in Tokyo, where he taught jujutsu to his first class of nine students. His choice of the name ‘Kodokan’ symbolizes precocity in one so young and is highly significant, for it means ‘the institute where one is guided along the road to follow in life’, that is to say, a road that one travels as a means of self-cultivation, which Kano regarded as the optimum way to live one’s life. This cultivation, however, can only be attained following long years of training made with vigorous exertion in an effort to reach the ultimate goal: self-perfection. At the age of twenty-four, Kano abruptly gave up the teaching of this ancient and altogether brutal activity and never taught jujutsu again. In his attempt to create for the modern age a non-violent, spiritually inspiring antagonistic art, he carried out research on several styles of jujutsu. Primarily in the interests of both safety and practicality, he altered and added his own devices to the techniques that he was later to incorporate into his newly conceived system of skills, which he named ‘Kodokan judo’. In lectures, Kano often stated the following: ‘The ultimate object of studying judo is to train and cultivate body and mind through practice in attack and defense, and by thus mastering the essentials of the art, to attain perfection of oneself and bring benefits to the world.’ He had sought to create in judo, therefore, something positive out of something largely negative.
